Memory is a pleasantly riveting watch even as it remains a one-trick pony that’s too reliant on shallow deep state caricature. “If I’m here, it’s…
Hatching is an intelligent, visceral film that avoids metaphor-heavy horror pitfalls and delivers an impressive creature feature. The coming-of-age horror film is a staple with good…
Unbearable Weight is the latest high-concept, one-joke movie, but it’s thankfully a funny enough joke to justify the film’s existence. Nicolas Cage is Nicolas Cage —…
Dual is delightfully off-kilter and funny enough to keep the viewer’s attention, but is undermined by its failures of internal logic and a general impression of…
We’re All Going to the World’s Fair is a bold, terrifying portrait of the Internet’s isolation/connection dichotomy. There’s something bracing about encountering a genuine oddity like…
Midnight is a solid piece of horror escapism, but suffers from a tendency toward familiar narrative and psychological shortcuts. Kwon Oh-seung’s debut feature Midnight is a…
Barbarians is blunt-force cinema at its worst, beating viewers over the head with its shallow, pseudo-provocative gabble. Barbarians is a home-invasion thriller that desperately wants to…
Everything Everywhere All at Once, true to its title, can be a little chaotic and unruly, but it’s still a hilarious and impeccably crafted bit of…
Bull offers genre fans 80 minutes of satisfyingly amoral brutality, but its swing-for-the-fences finale misses the mark. There’s no shortage of revenge pictures out there; at…
The Contractor isn’t much for ambition, but it accomplishes precisely what it sets out to, and lets Chris Pine have a little fun in the meantime.…
Superior sources a number of eerie genre influences in the creation of a bold, singular debut. Functioning as both an expansion and direct continuation of her…
You Are Not My Mother is appealingly steeped in the folk-horror tradition, but has a suffocating visual aesthetic and the unfortunately distinct feel of a padded-out…
X is a gnarly throwback horror that sheds the genre’s present obsession with being about something and just slings blood and jokes for the duration of its runtime. …
Panama is a muddled and befuddling film, offering a few choice Neveldine aesthetic choices but otherwise exhibiting a confused embrace of cliché. Intended as a temporary…
Alice is but another well-intentioned but utterly ham-fisted confrontation of America’s original sin. While history books are quick to tell us that Lincoln’s Emancipation Proclamation of…
Bloody Oranges is late-’90s Tarantino knockoff adorned with finger-wagging political window dressing. Partway through alleged French comedy Bloody Oranges is an epigraph from Marxist philosopher Antonio Gramsci (yes,…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its uncomfortable…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists on…
Asking for It is a cheap and muddled affront to the women it seeks to foreground. Asking for It, the debut feature from writer-director Eamon O’Rourke,…
Mother Schmuckers is sub-John Waters more-busting that fails to understand the essential appeal of its inspirational touchstone. American audiences encountering the Belgian gross-out comedy Mother Schmuckers…